Sometimes funny, sometimes kinda erudite; it's the current projects, influences and opinions of contemporary artist, James Thatcher, Pacific Northwest.
Not being able to visualize an art project motivates me as
an artist.
I was mulling over different ways to render the hyperbolic
paraboloid after creating 30-8” models in bamboo last winter.
An early version, bamboo, 12"
Hyperbolic Paraboloid in a Cube, bamboo & acrylic paint, 8"
4 Hyperbolic Paraboloids in combination
I liked the idea of building the artwork rather than simply
continuing to render it by drawing or painting the image. I settled on using drywall tape to create a
piece. It costs about a penny a foot and
it won’t wrinkle when painted. How would
it weave together to build that torqued grid of the hyperbolic paraboloid?
Here’s a brief time lapse video of an early take on the project. Notice the shaped canvas in the background. Ideas
to extend the original concept are already underway.
The braid image has some issues as a focus project because it’s simply too big at 48” across. What size makes sense? How would you present it? Mounted on a plywood panel? Pinned to the wall? As shaped canvas paintings?
Exploring the range of sizes from ¾ scale to 1/8 scale offered
many possibilities but presentation was still an issue. The 1/3 scale seems best as it yields a finished
piece of 16” x 8” which can be effective as an individual unit. Combining pieces still maintains a manageable
size.
Scale comparison, full size to 1/3 scale
I can mount these to sheets of paper or float them in simple
metal frames. I could laminate them and
suspend them because both sides are different.
Front side of braid, gesso on drywall tape, 16" x 8"
Back side
4 braids in combination, gesso on drywall tape, 16" x 16"
Lots of Possibilities!
You know how caterers make spiraling stacks of napkins? It seemed like a simple presentation but that project held a surprise. Here's a 30 second time lapse video of the effort (I really like the soundtrack):
“Artist’s
Block” is rooted in fear. Fear of
mistakes. Fear of messing up. Fear of failure. All of these will impede beginning. Beginning is the end of Artist’s Block.
Indecision
is the result of this fear. Making “The Decision”
is the key. The idea is to
create something to respond to. The
Decision is probably going to be wrong anyway but it will prompt a reaction.
Responding is
the key to unlocking creativity. It doesn't even matter if the idea and execution are awful. But get the ball rolling and believe that you
have what it takes to figure it out. It’s
easier to work with something than to work with nothing.
It’s like
editing. You can’t edit what isn’t
there. Your artwork is in motion as long
as you can determine a problem and consider a solution. Problem solving is creative. Trust your instincts. Don’t quit until it works.
I run into
this hesitation in my studio these days with each new piece. When I was in the midst of a focus projectI knew what the next step was at the end of the day and what to do when I got back
into the studio.
Free range
artwork is a whole different process in the wake of the focus project. Each piece requires fresh inspiration,
new insight and solutions. OUCH!
I am currently reworking last year’s abstract drawings with mathematics.Each piece relates to different equations, parabolas or geometry--eventually.
I continually
say, “Make a decision. It doesn’t matter
if it works right now. It will work.” Each painting has required
response after response to those initial decisions. Each painting resolves itself into a fine
and unusual artwork—WINNING!
If you are avoiding
your studio I want to encourage you. Make a decision on that painting that has you stuck. If it’s the empty canvas (or page) that has you
stuck then just slam it. Make something
to paint out and see what that looks like.
Then paint it out again. And then paint
that out. What colors have evolved? What textures?
Work with what
emerges. Let it tell you what’s
happening, what it is and where it’s going.
All you need to do is push it and follow it. Do it. Make it.
It’s only art, right?
Have faith--it’s
more fun than fear. You will not fail if you do not quit. Let me know how it
works out for you.
Grids,
octagons, X-Y-Z axes, coordinates, parabolas…mathematics are increasing these days in the studio.
Equations, formulas, letters and numbers have become part of the expression. They accompany geometric shapes and represent an aesthetic relief.
In 1982 the third year faculty at the Corcoran College of Art + Design (Washington, DC) became aware of
my job experience as a sign maker. Since then there has been a push to incorporate text into
my artwork. I became very self-conscious
about it…what to say? In those days I
took the sign influence into the direction of graffiti.
Washington, DC, Dupont Circle 1984 Photo Richard K. Thomas
As part of a
retrospective exhibit in the early 2000’s I painted individual words in a frieze
section of the gallery. The selection of words was rife with meaning
and hanging my large scale abstract paintings below them created interesting
contexts.
My struggle
was with words themselves. They’re so descriptive that they guide viewers thinking, perception and meaning. I've had no problem with this as far as titles go. But actually using them in the artwork has continued to make me feel self-conscious.I’ve tried to use text as texture by burying them under layers of paint but without success.
Now it seems
that the use of geometric shapes demands these equations to emphasize the depth of the subject. The
math is specific without being literal.
It’s an abstract language.
As
such, I enjoy incorporating it freely into these recent artworks. Many formulas are too long to
use but sections are fun to place into these
compositions. The complexity makes for rich content.
Using algebraic formulas touches on some difficult areas
for me. Algebra was incomprehensible when I was a high school freshman. The basic
concept of letters equaling “any number” was beyond me. My dad taught math and science and worked
with me to get a handle on it. In spite
of his tutoring it didn’t connect and was very frustrating!
I revisit
these memories often as I continue this series of artwork. It’s uncomfortable. Algebra was my great academic melt down. (Let’s not talk about Speech class.)
